Attractions Management Q3 2014
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Chessington World of Adventures Guide
Chessington World of Adventures Guide Overview One of three theme parks located in Greater London that are operated by Merlin Entertainments Group, Chessington World of Adventures combines a host of rides and shows with a world-class zoo. Whereas nearby LEGOLAND Windsor is aimed at families with kids aged 2-12, and Thorpe Park caters for teens and young adults, Chessington offers something for just about every age group. In addition to the theme park and zoo, the site is also home to the Holiday Inn Chessington, a safari-themed hotel that overlooks the Wanyama Village & Reserve area. History The origins of Chessington World of Adventures can be traced back to 1931, when a new zoo was established in the grounds of a fourteenth century country mansion by entrepreneur Reginald Goddard. The zoo was eventually acquired by the Pearsons Group in 1978, which subsequently merged with the Madame Tussauds chain to form The Tussauds Group. The newly-formed company embarked on an ambitious £12 million project to build a theme park on the site, and Chessington World of Adventures opened to the public in 1987. Attractions Africa Penguins of Madagascar Live: Operation Cheezy Dibbles User rating: (3 votes) Type: Live show Opening date: Mar 23, 2012 A new Madagascar-themed show set to open in 2015 to celebrate the "Year of the Penguins" Penguins of Madagascar Mission: Treetop Hoppers User rating: (2 votes) Type: Drop tower Height: 20 feet Manufacturer: Zamperla Model: Jumpin' Star Minimum rider height: 35 inches Opening date: 2001 Penguins of Madagascar Mission: Treetop Hoppers is a child-friendly take on the classic drop tower attraction. -
GLAAD Media Institute Began to Track LGBTQ Characters Who Have a Disability
Studio Responsibility IndexDeadline 2021 STUDIO RESPONSIBILITY INDEX 2021 From the desk of the President & CEO, Sarah Kate Ellis In 2013, GLAAD created the Studio Responsibility Index theatrical release windows and studios are testing different (SRI) to track lesbian, gay, bisexual, transgender, and release models and patterns. queer (LGBTQ) inclusion in major studio films and to drive We know for sure the immense power of the theatrical acceptance and meaningful LGBTQ inclusion. To date, experience. Data proves that audiences crave the return we’ve seen and felt the great impact our TV research has to theaters for that communal experience after more than had and its continued impact, driving creators and industry a year of isolation. Nielsen reports that 63 percent of executives to do more and better. After several years of Americans say they are “very or somewhat” eager to go issuing this study, progress presented itself with the release to a movie theater as soon as possible within three months of outstanding movies like Love, Simon, Blockers, and of COVID restrictions being lifted. May polling from movie Rocketman hitting big screens in recent years, and we remain ticket company Fandango found that 96% of 4,000 users hopeful with the announcements of upcoming queer-inclusive surveyed plan to see “multiple movies” in theaters this movies originally set for theatrical distribution in 2020 and summer with 87% listing “going to the movies” as the top beyond. But no one could have predicted the impact of the slot in their summer plans. And, an April poll from Morning COVID-19 global pandemic, and the ways it would uniquely Consult/The Hollywood Reporter found that over 50 percent disrupt and halt the theatrical distribution business these past of respondents would likely purchase a film ticket within a sixteen months. -
The Theme Park As "De Sprookjessprokkelaar," the Gatherer and Teller of Stories
University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2018 Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories Carissa Baker University of Central Florida, [email protected] Part of the Rhetoric Commons, and the Tourism and Travel Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Doctoral Dissertation (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Baker, Carissa, "Exploring a Three-Dimensional Narrative Medium: The Theme Park as "De Sprookjessprokkelaar," The Gatherer and Teller of Stories" (2018). Electronic Theses and Dissertations, 2004-2019. 5795. https://stars.library.ucf.edu/etd/5795 EXPLORING A THREE-DIMENSIONAL NARRATIVE MEDIUM: THE THEME PARK AS “DE SPROOKJESSPROKKELAAR,” THE GATHERER AND TELLER OF STORIES by CARISSA ANN BAKER B.A. Chapman University, 2006 M.A. University of Central Florida, 2008 A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the College of Arts and Humanities at the University of Central Florida Orlando, FL Spring Term 2018 Major Professor: Rudy McDaniel © 2018 Carissa Ann Baker ii ABSTRACT This dissertation examines the pervasiveness of storytelling in theme parks and establishes the theme park as a distinct narrative medium. It traces the characteristics of theme park storytelling, how it has changed over time, and what makes the medium unique. -
Global Attractions Attendance Report
2014 2014 GLOBAL ATTRACTIONS ATTENDANCE REPORT Cover: The Wizarding World of Harry Potter — Diagon Alley ™, ©Universal Studios Florida, Universal Orlando Resort, Orlando, Florida, U.S. CREDITS TEA/AECOM 2014 Theme Index and Museum Index: The Global Attractions Attendance Report Publisher: Themed Entertainment Association (TEA) 2014 Research: Economics practice at AECOM 2014 Editor: Judith Rubin Publication team: Tsz Yin (Gigi) Au, Beth Chang, Linda Cheu, Daniel Elsea, Kathleen LaClair, Jodie Lock, Sarah Linford, Erik Miller, Jennie Nevin, Margreet Papamichael, Jeff Pincus, John Robinett, Judith Rubin, Brian Sands, Will Selby, Matt Timmins, Feliz Ventura, Chris Yoshii ©2015 TEA/AECOM. All rights reserved. CONTACTS For further information about the contents of this report and about the Economics practice at AECOM, contact the following: GLOBAL John Robinett Chris Yoshii ATTRACTIONS Senior Vice President, Americas Vice President, Economics, Asia-Pacific ATTENDANCE [email protected] [email protected] T +1 213 593 8785 T +852 3922 9000 REPORT Brian Sands, AICP Margreet Papamichael Vice President, Americas Director, EMEA [email protected] [email protected] The definitive annual attendance T +1 202 821 7281 T +44 20 3009 2283 study for the themed entertainment Linda Cheu www.aecom.com/What+We+Do/Economics and museum industries. Vice President, Americas [email protected] Published by the Themed T +1 415 955 2928 Entertainment Association (TEA) and For information about TEA (Themed Entertainment Association): the -
2017 School Days Workbook
2017 School Days Workbook Student Name: School: Class: Teacher: Date: 1 | P a g e Words in the Park Search R E V I R Y Z A L F D M C O A W L T Z U I T A O B S Z K N R U M L C I E S H I P S E D I L S I A E D R N T L E U A R P S I C E E G D P T X I K S D H M X F I L G C E L E B R A T I O N W W M W U U L I S A N K P S W E M Q G A S E Q X B A L N R S U N S H I N E J V I R P H P H H I E A I S P N I R C I E R M C S N P C W N L E D V W A I Q G S R Q L B E O N A J G S T I G C W A T Y E G I O A O C O O A X E N L M V G T M F N K H O L Z O R S E S D A C D X J R I I B L H P Y S Z P E B X I H S J W Q K M M C F X E R B R I L A J R P G Z Y I M D Y B J L V A B E E P U M U E O M U I O E W A E U A S V Q Q T T I M L N Z W H D F F X Q R W V E T V F S J J E S S R Y Y E U F L Z H Q D U Z A F A I M H K V Z E S E G W P W A H M U M A Q O L L W K K X S L W F D I B W I V G N P J C W G U A N J G F O Z P Q X K F K G E K E Celebration Slides Coasters Summer Elephant Ears Sunshine Ferris Wheel Swimming Fun Thrilling Ice Cream Timberhawk Icee Water Lazy River Wave Pool Pizza Wild Waves Rides Zipline 2 | P a g e Words in the Park Use a dictionary to define the following words. -
The Immersive Theme Park
THE IMMERSIVE THEME PARK Analyzing the Immersive World of the Magic Kingdom Theme Park JOOST TER BEEK (S4155491) MASTERTHESIS CREATIVE INDUSTRIES Radboud University Nijmegen Supervisor: C.C.J. van Eecke 22 July 2018 Summary The aim of this graduation thesis The Immersive Theme Park: Analyzing the Immersive World of the Magic Kingdom Theme Park is to try and understand how the Magic Kingdom theme park works in an immersive sense, using theories and concepts by Lukas (2013) on the immersive world and Ndalianis (2004) on neo-baroque aesthetics as its theoretical framework. While theme parks are a growing sector in the creative industries landscape (as attendance numbers seem to be growing and growing (TEA, 2016)), research on these parks seems to stay underdeveloped in contrast to the somewhat more accepted forms of art, and almost no attention was given to them during the writer’s Master’s courses, making it seem an interesting choice to delve deeper into this subject. Trying to reveal some of the core reasons of why the Disney theme parks are the most visited theme parks in the world, and especially, what makes them so immersive, a profound analysis of the structure, strategies, and design of the Magic Kingdom theme park using concepts associated with the neo-baroque, the immersive world and the theme park is presented through this thesis, written from the perspective of a creative master student who has visited these theme parks frequently over the past few years, using further literature, research, and critical thinking on the subject by others to underly his arguments. -
Dark Rides and the Evolution of Immersive Media
Journal of Themed Experience and Attractions Studies Volume 1 Issue 1 Article 6 January 2018 Dark rides and the evolution of immersive media Joel Zika Deakin University, [email protected] Part of the Environmental Design Commons, Interactive Arts Commons, and the Theatre and Performance Studies Commons Find similar works at: https://stars.library.ucf.edu/jteas University of Central Florida Libraries http://library.ucf.edu This Article is brought to you for free and open access by STARS. It has been accepted for inclusion in Journal of Themed Experience and Attractions Studies by an authorized editor of STARS. For more information, please contact [email protected]. Recommended Citation Zika, Joel (2018) "Dark rides and the evolution of immersive media," Journal of Themed Experience and Attractions Studies: Vol. 1 : Iss. 1 , Article 6. Available at: https://stars.library.ucf.edu/jteas/vol1/iss1/6 Journal of Themed Experience and Attractions Studies 1.1 (2018) 54–60 Themed Experience and Attractions Academic Symposium 2018 Dark rides and the evolution of immersive media Joel Zika* Deakin University, 221 Burwood Hwy, Burwood VIC, Melbourne, 3125, Australia Abstract The dark ride is a format of immersive media that originated in the amusement parks of the USA in the early 20th century. Whilst their numbers have decreased, classic rides from the 1930s to the 70s, such as the Ghost Train and Haunted House experiences have been referenced is films, games and novels of the digital era. Although the format is well known, it is not well defined. There are no dedicated publications on the topic and its links to other media discourses are sparsely documented. -
The Hettema Group Celebrates 15 Years
The Hettema Group #70 • volume 13, issue 5 • 2017 www.inparkmagazine.com celebrates 15 years I-Drive 360 Serving up servers IAAPA overload Surviving and thriving in the Media based attractions All the latest and greatest our shadow of theme park giants depend on them industry has to offer 1 inparkmagazine.com inparkmagazine.com 2 inparkmagazine.com inparkmagazine.com Gold Sponsor2017 We Take Fun Seriously! Audio Video Projection Lighting Control Engineering Design Installation UAE - Germany - Finland - UK - Japan - Italy - China - USA 4 www.wartsila.com/funa inparkmagazine.com Anniversaries abound Immersion and IP Martin Palicki, Judith Rubin, IPM publisher IPM editor he IAAPA Expo has always been a big party in eople want to be immersed in stories and Tmany ways, but this year the celebrations seem Pincreasingly, the latest tech allows us to do that even more special. As we’ve put together this issue seamlessly. That seems to be what is demanded by (our 70th issue, wrapping up lucky year number 13), we today’s IP-centric media-based experiences realized many companies are celebrating milestones. What are the benefits of immersion? Guests stay From the 15th anniversary of our cover story longer, forget the day-to day-world, are emotionally company, The Hettema Group, to Sally Corporation’s engaged, spend more money and return more often. 40th birthday, there are success stories for companies Immersion is a product, somewhat intangible. Success of all sizes. is in the results. Immersion maintains the bubble of the experience. Is that a physical thing? A technological This is good news for all of us. -
CEO Statement
10 September 2014 accesso® Technology Group plc (“accesso” or the “Group”) INTERIM RESULTS for the six month period ended 30 June 2014 accesso Technology Group plc (AIM: ACSO), the premier technology solutions provider to the global attractions and leisure industry, announces interim results for the six months ending 30 June 2014. The results demonstrate the good financial progress made in the first six months, as well as the investment undertaken to strengthen our product lines and leverage our increased scale and customer relationships across the Group. Financial Highlights Six months Six months ended 14 month period ended 30 June 2013 ended 30 June 2014 (unaudited pro- 31 December 2013 (unaudited) forma**) % change (audited in GBP) $m $m $m Revenue 25.88 20.99 +23.3% 61.43 Adjusted operating profit *# 1.28 1.17 +9.4% 6.07 Net debt 4.63 4.00 2.01 Earnings per share – basic (cents) 2.33 1.37 +70.0% 14.84 * Adjusted operating profit is defined as operating profit before the deduction of amortisation related to acquisitions, acquisition costs, and share based payments as detailed within the Consolidated statement of comprehensive income. ** Pro-forma for June 2013 due to change of year end from October to December # % change +23.9% on a constant currency basis Operational Highlights A period of continued growth o Strong revenue (+23.3%) and profit (+9.4%) growth; o The broad technology offering and geographic reach of the Group continues to benefit our performance and enable growth, with Europe enjoying strong guest attendance in contrast to more muted weather-related attendance in North America; o Further investments to strengthen all our product offerings, as well as work on diversifying our portfolio of services geographically and vertically. -
Vinyl Theory
Vinyl Theory Jeffrey R. Di Leo Copyright © 2020 by Jefrey R. Di Leo Lever Press (leverpress.org) is a publisher of pathbreaking scholarship. Supported by a consortium of liberal arts institutions focused on, and renowned for, excellence in both research and teaching, our press is grounded on three essential commitments: to publish rich media digital books simultaneously available in print, to be a peer-reviewed, open access press that charges no fees to either authors or their institutions, and to be a press aligned with the ethos and mission of liberal arts colleges. This work is licensed under the Creative Commons Attribution- NonCommercial 4.0 International License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. The complete manuscript of this work was subjected to a partly closed (“single blind”) review process. For more information, please see our Peer Review Commitments and Guidelines at https://www.leverpress.org/peerreview DOI: https://doi.org/10.3998/mpub.11676127 Print ISBN: 978-1-64315-015-4 Open access ISBN: 978-1-64315-016-1 Library of Congress Control Number: 2019954611 Published in the United States of America by Lever Press, in partnership with Amherst College Press and Michigan Publishing Without music, life would be an error. —Friedrich Nietzsche The preservation of music in records reminds one of canned food. —Theodor W. Adorno Contents Member Institution Acknowledgments vii Preface 1 1. Late Capitalism on Vinyl 11 2. The Curve of the Needle 37 3. -
Does It Have Fur Or Feathers? a Categorisation of Theme Park Attractions
Does it have fur or feathers? A Categorisation of Theme Park Attractions Author: Frank Cornelissen Author ANR: U0396714 Supervisor: Pieter Cornelis 2nd Reader: Greg Richards Date: August 17th, 2010 Tilburg University Tilburg School of Social and Behavioural Sciences Department of Leisure Studies Preface & Acknowledgements One should think that the concept of ‘once bitten, twice shy’ would apply after finishing my bachelor thesis, yet a little over four months ago I once again found myself at the beginning of what then seemed an impossible task. The goal? To devise an empirically founded categorisation of theme park attractions. That task may seem simply at first, but when looking at attractions in the likes of, to name but a few, Tower of Terror, Hocus Pocus Hall, The Flying Dutchman, Lisebergtower, Hex or Dragon Khan, it will seen become apparent that each and every of these attractions is highly unique. As the seemingly endless imagination and the incredible skills that come into play in converting the most impossible of ideas into reality was part of what raised my interest in the theme park industry many years ago, that didn’t come as a surprise. It did, however, make things considerably more difficult. Luckily, I wasn’t on my own in taking on this challenge. First and foremost I would like to thank my supervisor Pieter Cornelis; I would not have been able to finish my thesis without his support, guidance, wisdom and ruthless criticism. I sincerely appreciate the advice Fetene Tekle, Marie-Anne Mittelhaeuser and especially Theo van der Weegen have given me regarding statistics in general and dimension reduction of dichotomous data in particular. -
The Cairo Street at the World's Columbian Exposition, Chicago, 1893
Nabila Oulebsir et Mercedes Volait (dir.) L’Orientalisme architectural entre imaginaires et savoirs Publications de l’Institut national d’histoire de l’art The Cairo Street at the World’s Columbian Exposition, Chicago, 1893 István Ormos DOI: 10.4000/books.inha.4915 Publisher: Publications de l’Institut national d’histoire de l’art Place of publication: Paris Year of publication: 2009 Published on OpenEdition Books: 5 December 2017 Serie: InVisu Electronic ISBN: 9782917902820 http://books.openedition.org Electronic reference ORMOS, István. The Cairo Street at the World’s Columbian Exposition, Chicago, 1893 In: L’Orientalisme architectural entre imaginaires et savoirs [online]. Paris: Publications de l’Institut national d’histoire de l’art, 2009 (generated 18 décembre 2020). Available on the Internet: <http://books.openedition.org/ inha/4915>. ISBN: 9782917902820. DOI: https://doi.org/10.4000/books.inha.4915. This text was automatically generated on 18 December 2020. The Cairo Street at the World’s Columbian Exposition, Chicago, 1893 1 The Cairo Street at the World’s Columbian Exposition, Chicago, 1893 István Ormos AUTHOR'S NOTE This paper is part of a bigger project supported by the Hungarian Scientific Research Fund (OTKA T048863). World’s fairs 1 World’s fairs made their appearance in the middle of the 19th century as the result of a development based on a tradition of medieval church fairs, displays of industrial and craft produce, and exhibitions of arts and peoples that had been popular in Britain and France. Some of these early fairs were aimed primarily at the promotion of crafts and industry. Others wanted to edify and entertain: replicas of city quarters or buildings characteristic of a city were erected thereby creating a new branch of the building industry which became known as coulisse-architecture.